[Date Prev][Date Next]   [Thread Prev][Thread Next]   [Date Index][Thread Index][Author Index]

Fw: Musicworks #73

I thought all of you into strange and beautiful music would enjoy this. Its
a great magazine from Canada.

-----Original Message-----
From: Musicworks <sound@musicworks-mag.com>
To: sound@musicworks-mag.com <sound@musicworks-mag.com>
Date: Thursday, April 15, 1999 12:12 PM
Subject: Musicworks #73

>Musicworks respects your privacy. If you do not wish to receive any
>further messages regarding our publication please respond with the word
>"remove" in the subject or body of the email.
>Our new issue is out!
>Subscribers should expect to receive their copies soon.
>Anyone who wishes to receive a sample copy of the magazine may contact
>Musicworks Magazine & Compact Disc
>179 Richmond Street West Toronto, ON CANADA M5V1V3
>t:416-977-3546 f:416-204-1084 sound@musicworks-mag.com
>                      MUSICWORKS 73
>                     Winds of Change
>The articles in MUSICWORKS 73 are concerned with the
>relationship between instruments and the process by
>which music is made. The opening article describes
>traditional music from Borneo. Two contrasting
>approaches to electronic instruments-two different and
>original concepts of possible creative process-are
>evident in Brian Eno's Music for Airports and David
>Tudor'sVirtual Focus sound table. In playing Stefan
>Wolpe's Battle Piece David Tudor confronts the extreme
>technical limits of the piano and brings both the piece
>and the instrument into a different musical context.
>One is reminded of Morton Feldman's phrase "a new
>metaphysical place" by which he meant going beyond the
>traditional attitude to musical technique and formal
>logic. He was interested in the painterly immediacy of
>the instrument as an unmediated source of
>intelligent/spiritual sound. Stefan Wolpe had brought
>that perception from the Bauhaus to his students, and
>David Tudor understood it profoundly.
>                              Gayle Young,
>                               Editor
>                    ARTICLE SUMMARIES
>                     Winds of Change
>                  by Randy Raine-Reusch
>Raine-Reusch helps salvage some endangered musical
>traditions and instruments in a distant jungle world.
>The cultural practices and contexts that support
>traditional music in Borneo are disappearing, and as a
>result so too are rituals and musical practices. Randy
>Raine-Reusch has succeeded in gaining recognition for
>the music both in Borneo and internationally. A high
>level of technical virtuosity is heard (on the MW 73 CD)
>when Catherine Uson Kehing plays a tube zither using
>only raised strands of bamboo bark held in tension by
>inserted bridges.
>       -------------------------------------------
>                Working with David Tudor
>                   by Stuart Dempster
> A renowned new music trombonist recalls touring and
> performing with David Tudor, John Cage, David Behrman
> and Takehisa Kosugi. In 1993 Tudor asked Dempster to
> compose a piece for the Merce Cunningham Dance Company.
> Dempster describes an open and encouraging community of
> musicians which did have some "rules" including the
> instruction: "Thou shalt not turn down another person's
> gain." The CD for this issue includes two trombone
> pieces by Dempster, recorded in dramatically
> reverberant spaces.
>       -------------------------------------------
>               David Tudor's Virtual Focus
>                    by Matt Rogalsky
>                            &
>                David Tudor's Sound Table
>                   by Adam Barker-Mill
>A rare Tudor artifact provides clues to the secrets of
>his performance practice. Virtual Focus is the title
>David Tudor gave to a work he created in 1990. The piece
>is still intact and is an ideal case study of Tudor's
>late musical practice. The CD for MUSICWORKS 73 includes
>two excerpts from a 1990 performance by David Tudor, and
>several examples from a recording of the sound table
>made by Matt Rodalsky in 1999.
>       -------------------------------------------
>  Composing the Performer: Tudor Remembers Stefan Wolpe
>                   by Austin Clarkson
>David Tudor, the peerless interpreter of avant-garde
>piano repertoire, recalls his unique relationship to
>Stefan Wolpe. Austin Clarkson has done important and
>thorough research on composer Stefan Wolpe which
>included five days of interviews with David Tudor, who
>first interpreted Wolpe's landmark composition, The
>Battle Piece. The only known recording of Tudor
>performing this piece, a 1957 copy of a radio broadcast,
>is on the MW 73 CD.
>       -------------------------------------------
>                Eno's Music for Airports
>                     by Chris Twomey
> Process or Preference. The New Music ensemble Bang on a
> Can released an arrangement of Eno's founding "ambient"
> album, Music For Airports, which puts new focus on his
> artistic roots in experimental music. Eno has been
> given credit as a pop visionary, as a producer, and as
> a video artist, and now also as a serious thinker about
> music.
>       -------------------------------------------
>                      Time...On Dit
>                   The Nature of Image
>                    by Stan Brakhage
>With this column, filmmaker Stan Brakhage concludes his
>"Time on dit" feature in Musicworks. The series began
>early in 1990, with a column on time and film in issue
>No. 45, and continued with further writing about film
>and its relation to the other arts.
>       -------------------------------------------
>  ------------------------------------------------------
>  ------------------------------------------------------
>                       CD CONTENTS
>       -------------------------------------------
>[1] Standing Waves (excerpt/ extrait) (1976) (3:38)
>by/ de Stuart Dempster; performed by/ interprété par
>Stuart Dempster, trombone
>The first note is the loudest and should be
>overpowering. This single first note, after I stop
>playing, continues for fourteen seconds into silence
>just before the next note. You will eventually learn to
>tell when I quit playing and leave only the echo, but at
>first you may be deceived. This piece appears on Stuart
>Dempster in the Great Abbey of Clement VI, originally
>released on an Arch Records LP (#S-1775); rereleased on
>New Albion (CD#013).
>· La première note est la plus forte et devrait être
>très puissante. Après avoir cessé de jouer, cette
>première note se prolonge pendant quatorze secondes dans
>le silence jusqu'à la note suivante. Au début, vous vous
>méprendrez peut-être mais vous serez ensuite capable de
>distinguer le moment où je cesse de jouer et ne laisse
>entendre que l'écho. On retrouve cette pièce sur le
>disque &laqno;Stuart Dempster in the Great Abbey of
>Clement VI», paru précédemment sur étiquette Arch
>Records (#S-1775) et réédité sur étiquette New Albion
>       -------------------------------------------
>[2] Morning Light (1994) (9:53)
>by/ de Stuart Dempster; performed by/ interprété par
>Stuart Dempster, solo trombone, with nine other
>trombonists/ trombone solo accompagné de neuf autres
>This recording took place in a large underground
>cistern, a 186 foot diameter concrete water tank with a
>forty-five second reverberation. This piece appears on
>Underground Overlays from the Cistern Chapel, New Albion
>· Cet enregistrement a été réalisé dans une énorme
>citerne de béton de 186 pieds de diamètre produisant une
>réverbération de 45 secondes. La pièce est parue sur
>&laqno;Underground Overlays from the Cistern Chapel»,
>sur étiquette New Albion (CD#076).
>Tracks [1] and [2] used by permission of Deep Listening
>Publications, publisher <http://www.deeplistening.org>
>and New Albion Records <http://newalbion.com>.
>· Les plages [1] et [2] sont publiées ici avec
>l'autorisation de l'éditeur Deep Listening Publications,
><http://www.deeplistening.org> et de New Albion Records
>       -------------------------------------------
>[3] Kulit The (1998) (1:17)
>Performed on the lutong (a bamboo tube zither) by
>Catherine Uson Kehing at Long San, a Kenyah longhouse
>found on the banks of the Upper Baram River in Eastern
>Sarawak, Malaysia. Catherine's exact age is unknown, but
>she is considered to be over eighty. She is one of the
>last lutong players who remembers a large number of
>pieces, and has been playing since she was a teenage
>girl. The old lutong was said to have only two strings,
>but now it has four to six strings. Catherine plays a
>four string version. This recording was made on December
>29th, 1998 during the first naming ceremony in more than
>17 years at Long San.
>· Interprété par Catherine Uson Kehing au lutong
>(cithare à tubes de bambou) à Long San, une
>&laqno;longue maison» Kenyah située sur les rives de la
>rivière Haut-Baram dans le Sarawak oriental en Malaisie.
>Bien qu'on ne connaisse pas l'âge exact de Catherine, on
>estime qu'elle a plus de 80 ans. Elle compte parmi les
>derniers joueurs de lutong à posséder un vaste
>répertoire de pièces, qu'elle joue depuis son
>adolescence. On dit que l'ancien lutong ne possédait que
>deux cordes, mais il en compte maintenant de quatre à
>six. Catherine en utilise un à quatre cordes. Cet
>enregistrement a été réalisé le 29 décembre 1998, durant
>une cérémonie qui n'avait pas eu lieu depuis 17 ans à
>Long San.
>       -------------------------------------------
>[4] Sebu (recorded December 29th, 1998/ enregistré le 29
>décembre 1998) (1:10)
>Performed on the lutong by Catherine Uson Kehing at Long
>San Baram/ Interprété par Catherine Uson Kehing au
>lutong à Long San, Baram.
>       -------------------------------------------
>[5] Dak Lekukan (recorded New Years Day 1998/ enregistré
>au Jour de l'an 1998) (4:04)
>Performed on the keledi by Emang Ajang at Long Laput, a
>Kayan longhouse in the lower Baram region of eastern
>Sarawak. At eighty six, Emang is still well known
>throughout the mid and lower Baram regions for his large
>repertoire and skill on the keledi, a six pipe gourd and
>bamboo mouth organ. Emang is also one of the few
>surviving makers of the keledi, also known as a keluri
>or enkulurai. It was used to lead both men's and women's
>longdances, but is close to extinction.
>· Interprété par Emang Ajang au keledi à Long Laput, une
>&laqno;longue maison» Kayan située dans la région du
>Bas-Baram dans le Sarawak oriental. À 86 ans, Emang est
>toujours célèbre dans les région du Bas et Moyen-Baram
>pour son répertoire et son talent au keledi, un orgue à
>bouche à six tuyaux, fait d'une calebasse et de bambou.
>Emang est également un des derniers fabricants vivants
>du keledi, appelés également keluri ou enkulurai.
>L'instrument était utilisé pour diriger les danses des
>hommes et des femmes, mais il est presque disparu.
>[6] Lung Liung (1998) (7:32)
>sung by Mering Jok and accompanied by Ajang Jok, and
>Uloi Jok. Mering Jok has been called the Shakespeare of
>Sarawak for his highly developed skill of extemporaneous
>song writing. Although the forms of these songs are
>known, the lyrics are usually impromptu, a difficult
>feat in itself, but here compounded by aspects of rhyme
>and meter. Recorded Jan 1st 1998, after staying up to
>four a.m. the evening before listening to Mering sing an
>epic song that lasted over an hour and a half. The
>subject of this song included Raine-Reusch coming to
>record his singing.
>· chanté par Mering Jok et accompagné par Ajang Jok et
>Uloi Jok. On a surnommé Mering Jok le &laqno;Shakespeare
>du Sarawak» pour son immense talent d'auteur de chansons
>impromptues ou improvisées. Bien que les formes de ces
>chansons soient connues, les paroles sont en général
>improvisées, un exploit difficile en soi mais rendu
>encore plus complexe ici par la métrique et la rime.
>Enregistré le 1er janvier 1998 après une courte nuit et
>une soirée passée à écouter Mering chanter un chant
>épique d'une durée d'une heure et demi. Cette chanson
>porte entre autres sur la venue de Raine-Reusch dans le
>but d'enregistrer Mering.
>       -------------------------------------------
>[7] Jaw Harp (recorded 1989, Long Kejaman Lasa on the
>Belaga River, central Sarawak/ enregistré en 1989 à Long
>Kejaman Lasa sur la rivière Belaga, Sarawak central)
>Performed on the tuwang, a reed jaw harp, by an unnamed
>Kejaman woman in her sixties. Jaw harps were used as
>both personal instruments and between lovers, but the
>tradition of playing them has almost completely
>· Joué au tuwang, une sorte d'harmonica à anches par une
>femme Kejaman inconnue dans la soixantaine. Ces
>harmonicas étaient utilisés comme instruments personnels
>et entre amoureux mais cette tradition s'est presque
>complètement éteinte.
>       -------------------------------------------
>[8] Nose Flute (recorded/ enregistré en 1989, Long
>Kejaman Lasa) (2:05)
>Performed on the selingut, a bamboo nose flute, by the
>same woman who played jaw harp in track [7]. Nose flutes
>were an important part of courting and funeral rituals
>in many regions of Sarawak, yet the tradition has
>totally disappeared in the Belaga region since this
>recording was made.
>· Joué au selingut, une flûte nasale de bambou, par la
>même femme qui jouait l'harmonica sur la plage [7]. Ces
>flûtes étaient utilisées pour faire la cour et lors des
>rituels funéraires dans de nombreuses régions du Sarawak
>bien que cette tradition soit complètement disparue de
>la région de Belaga depuis la réalisation de cet
>Tracks [3] to [6] were made by Randy Raine-Reusch with
>the aid and sponsorship of Tamar Holdings Sdn. Bhd., The
>Canadian Society of Asian Arts, Pan Records and
>Malaysian Airlines. Tracks [7] and [8] were made by
>Randy Raine-Reusch, with the aid of the Canada Council
>for the Performing Arts.
>· Les plages [3] à [6] ont été réalisées par Randy
>Raine-Reusch grâce à l'aide financière de Tamar Holdings
>Sdn. Bhd., la Canadian Society of Asian Arts, Pan
>Records et la compagnie Malaysian Airlines. Les plages
>[7] et [8] ont été réalisées par Randy Raine-Reusch,
>avec l'appui du Canada Council for the Performing Arts.
>       -------------------------------------------
>[9] to [18] Virtual Focus (1990) (18: 28)
>by/ de David Tudor
>Performed and recorded by/ interprété et enregistré par
>Matt Rogalsky, January 9, 1999, Southampton, UK.
>Ten sections were excerpted from a continuous 90-minute
>improvisation on David Tudor's sound table, Virtual
>· Dix sections ont été tirées d'une improvisation de 90
>minutes sur la &laqno;table sonore» de David Tudor
>Virtual Focus.
>       -------------------------------------------
>[9] (2:52)
>[10] (0:39)
>[11] (2:28)
>[12] (2:14)
>[13] (1:30)
>[14] (4:05)
>[15] (1:07)
>[16] (0:58)
>[17] (1:35)
>[18] (0:54)
>Sounds to listen for: (1) the original kite lines source
>material, heard a few seconds into the first excerpt and
>again later; (2) kite lines source material processed
>through audio gate and then through auto-filter pedals-a
>very dynamic combination since the envelope and
>sensitivity of the gate and the filter tracking
>characteristics can be changed on the fly; (3) very high
>and low frequency sounds from ultrasonic motion
>detectors focused on Jackie Monnier's hanging sculpture,
>and processed through pitch shifters and filters; (4)
>"zippering" sounds of radar modules focused for this
>recording on the movements of the performer; (5) moving
>spatialization of sounds using the stereo and quad
>panning processors.
>· Sons à écouter : (1) le matériau sonore original
>entendu pendant quelques secondes dans le premier
>extrait et à nouveau plus tard. (2) Le matériau original
>passé à travers un circuit-déclencheur (gate) et un
>dispositif de filtres - les possibilités de modifier en
>temps réel l'enveloppe et la sensibilité du
>circuit-déclencheur ainsi que les caractéristiques de
>dépistage des filtres rendent ce système très dynamique.
>(3) Des sons de hautes et de basses fréquences
>déclenchés par des détecteurs de mouvement ultrasoniques
>dirigés sur la sculpture suspendue de Jackie Monnier et
>traités au moyen de filtres et de dispositifs de
>transposition de hauteurs. (4) Des sons émis par des
>modules radar dirigés, pour cet enregistrement, sur les
>mouvements de l'interprète. (5) Spatialisation des sons
>au moyen de processeurs panoramiques stéréophoniques et
>       -------------------------------------------
>[19] and [20] Virtual Focus (1990) (3:03)
>by/ de David Tudor
>Performed by David Tudor with the Merce Cunningham Dance
>Company in Paris, 1990, used courtesy of the Cunningham
>Dance Foundation Archives.
>· Interprété par David Tudor avec la Merce Cunningham
>Dance Company à Paris en1990, enregistrement utilisé
>avec l'autorisation des Cunningham Dance Foundation
>[19] (0:57) opening of the 28-minute performance/ début
>de la performance de 28 minutes
>[20] (2:06) closing of the performance/ fin de la
>       -------------------------------------------
>[21 to [27] Battle Piece (1947) (20:44)
>by/ de Stefan Wolpe
>Performed by David Tudor, probably in 1956. This is the
>only known recording of David Tudor performing Stefan
>Wolpe's Battle Piece. The tape was taken directly from a
>radio broadcast in Germany-intermittent radio
>interference is evident.
>· Interprété par David Tudor, probablement en 1956. Il
>s'agit du seul enregistrement connu de David Tudor
>jouant Battle Piece de Stefan Wolpe. Cette bande a été
>tirée de la diffusion d'une émission à la radio
>allemande, ce qui explique les interférences radio
>[21] (2:57) Part 1
>[22] (1:44) Part 3
>[23] (4:54) Part 4
>[24] (4:12) Part 2
>[25] (0:52) Part 5
>[26] (2:10) Part 6
>[27] (3:55) Part 7
>       -------------------------------------------
>   ---------------------------------------------------
>Marisa Iacobucci
>179 Richmond St. W.
>Toronto, ON M5V 1V3